Understanding Dissonance in Classical Music

Dissonance, a fundamental aspect of classical music, refers to a combination of notes that generates a sense of tension or instability, contrasting with consonance, which produces a more stable and harmonious sound. This article delves into the key aspects of dissonance, its historical context, and contemporary applications in music composition.

Key Points about Dissonance

Intervals

Common dissonant intervals include:

The minor second, such as C to C# The major seventh, such as C to B The tritone, such as C to F

Dissonance typically seeks resolution to consonance. For example, a dissonant chord might resolve to a consonant chord, creating a satisfying musical progression.

Use in Composition

Composers utilize dissonance to enhance the emotional depth and complexity of their music. Dissonance can heighten drama, create anticipation, or express conflict, making classical music more expressive and nuanced.

Historical Context

The treatment of dissonance has evolved over time. In the Common Practice Period (1600-1900), strict rules governed the use and resolution of dissonance. However, in the 20th century, composers like Arnold Schoenberg and Igor Stravinsky expanded the use of dissonance, often using it as a primary element of their musical language.

Modern Perspectives

Contemporary music does not necessarily resolve dissonance in traditional ways, and it can coexist with consonance, leading to innovative harmonic structures. This flexibility allows composers to create complex and emotionally rich music that challenges and engages the listener.

Further Insights into Dissonance

Dissonance is not a static concept; rather, it is a social construction that has evolved over time. In the classical period of music (roughly 1750-1810), the minor and major second, as well as the tritone, were often considered dissonant. However, this does not mean these intervals were entirely avoided.

Dissonance in classical music means that a note, chord, or interval implies musical motion. Certain intervals have been used and thus labeled as consonant or dissonant. For example:

Unison, octave, fifth, and fourth are considered perfect intervals and are classified as consonant. Raising a perfect consonance gives an augmented interval, and lowering it gives a diminished interval. Major and minor thirds and sixths are imperfect consonances, with major and minor forms. Minor intervals can be raised to major, and major intervals can be lowered to minor. Major intervals can be raised to augmented, and minor intervals can be lowered to diminished intervals. All seconds and sevenths, whether major or minor, are treated as dissonances. All augmented and diminished intervals are treated as consonances. The tritone, both an augmented fourth and a diminished fifth, is dissonant but treated differently in these two forms. The perfect fourth is treated differently as well. It is considered a dissonance when it occurs over the bass note but a consonance otherwise. Thus, the chords C-E-G and E-G-C are consonant, but E-G-C is treated as a dissonance.

When dealing with chords, these principles can get even more complex. Ludmilla Ulehla#39;s book Contemporary Harmony discusses several treatments, adding another layer of complexity to the study of dissonance.

In conclusion, dissonance plays a crucial role in shaping the emotional landscape of classical music, contributing to its expressive power and complexity. By understanding dissonance, composers and listeners can appreciate the rich textures and movements of classical music.